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Somdatta Mandal explores six dance-dramas by Tagore translated from Bengali andBrajbuli by Indrani Haldar
Rabindranath Tagore (1861-1841) watching a performance of his nritya natya or dance drama: From Public Domain
The translation of different genres of Rabindranath Tagore’s works into English remains unabated till date. The translations of his novels, short stories, poems, non-fiction, and travelogues have been coming out at regular intervals, and multiple translations of some texts by different people, both professional and amateur, justify his popularity among all classes of readers, scholarly or mundane. Interestingly enough, compared to the other genres, drama happens to be a slightly neglected area in the world of Tagore translation and readership.
Throughout his life, Tagore experimented with different forms of plays – allegorical, symbolic, historical, comedies, and a kind of comic and witty plays known as ‘hasyakoutuk’. Again, there are some plays that focus more on dialogue than be dramatic enough to be enacted on stage. Apart from the various forms of plays that Tagore wrote and experimented with in his lifetime, there is another sort of play which does not have any antecedents, where the three aspects of acting, songs and dance have developed into a local form of opera. In plays like Mayar Khela, Shapmochon, Shyama, Chitrangada, Chandalika or Kalmrigoya and Tasher Desh [1](these last two plays of course have prose and songs in the dialogue), Tagore uses dialogue through the use of songs. The power that these plays generate as plays per se can be an interesting area of discussion, but these latter operatic types of plays, except for Bengali speaking readers, are hard to find and be appreciated by a pan-Indian or non-Bengali readership.
This is where a present set of six very aesthetically produced slim volumes (published in 2024 and 2025) all of them beautifully translated into English by Indrani Haldar, a retired professor of English at Jadavpur University, Kolkata, gains significance. The very first book in this translated series is entitled Bhanusingha Thakurer Padabali [2] and Rabindranath had composed the lyrics as a young writer only sixteen years old under the pseudonym of Bhanusingha Thakur. Dedicated to the memory of his sister-in-law Kadambari Debi who was his one-time playmate and companion, the twenty-one lyrics presented in the book are written in the Vaishnava Padabali tradition initiated by the Maithili poet Vidyapati in the 15th century and which gained impetus in the 16th century in Bengal under the cultural and religious influence of Shree Chaitanya Deva’s revival of Vaishnavism. Built around the love-legend of Radha and Krishna in both material and mystical forms, these lyrics are composed in brajabuli, (a mixture of Maithili and Bengali and Sanskrit) and the language in which the early padabalis had been written. Later in life, Rabindranath was not enthusiastic about these songs and spoke about them as being somewhat enclosed within the limits of a particular thought-system. The bilingual version of this volume, also becomes the books USP.
Photo Courtesy: Somdatta Mandal
The second book in this series is titled Free Waterfall. It is a translation of Muktodhara. Written in 1922, it is a sombre and singularly focused play, perhaps the most powerful of Rabindranath’s dramatic output. The background of the play is of course the nation-wide Non-Cooperation Movement launched by Mahatma Gandhi and the political backdrop of this can hardly be ignored. This symbolical and allegorical play has two prominent figures namely, Dhanajay Bairagi and the Crown Prince, Abhijit. Despite their appeal to the masses, both are misunderstood and persecuted figures, pursuing their ideals and visions alone and of choice. Both are determined and steadfast in their stand while rejecting violent options. The ideals pursued and values inculcated include a disapproval of machines misused by humans to enhance political power, to dominate the powerless and increase their suffering, and to harm and destroy the forces of nature which shape a beneficient environment. Though the play ends with the tragic death of the prince, as most often in Rabindranath’s creative work, hope, love, courage and compassion are attainable at the end of the dark tunnel.
The third book published in this series is Tasher Desh, titled The Kingdom of Cards. Written in 1933, and dedicating it to Subhas Chandra Bose, while remembering that he had “taken up the sacred task of inspiring new life and soul” of India, Tasher Desh is a complex play resisting any straight-jacketed or single interpretation, thus necessitating a multi-dimensional approach. Tagore’s travels to Europe and the United States in the early 1930s were necessarily reflected in his creative work. It is interesting to surmise that the state-sponsored regimentation that the sensitive poet must have been aware of on his European tour, especially in Nazi Germany and Stalinist Russia, the half-suppressed state of fear prevailing, and the claustrophobic atmosphere stifling creativity, has found expression in this play. In the play, the Prince, in search of new world, lands up after his shipwreck, in a country where people have been flattened geometrically into mindless cards, unable either to think or act, leave alone create, on their own, a condition of mindless subservience. The play of course ends in a paean to new life, a freedom from fear, a ‘breaking open’ of all closed doors. Tagore therefore stresses the importance of eternal human values which he hopes will return to a world hell-bent on losing them.
Photo Courtesy: Somdatta Mandal
The two dance-dramas Chitrangada and Shyama, though creatively separated by three decades, are the most popular of Tagore’s works, and present his continuous quest for and questioning of the multi-dimensional character of love. Both the women protagonists in these plays are strong characters, outstripping their male counterparts in impact. Chitrangada (1891) an early verse-play, is based on a subsidiary story gleaned from Mahabharata. In the play both Arjun and Chitrangada progress from sensual attraction to a realisation of the innate substantial qualities of love, from romantic obsession to a deeper relationship between lover and beloved. Shyama, on the other hand, has antecedents in a Buddhist tale from the Jatakas. Revised and perfected by Tagore in the final decade of his creative life, the approach is more paradoxical and ambiguous. Though as strong a character as Chitrangada, Shyama is self-centeredly willing, even eager, to compromise basic human values like compassion or sympathy in her sudden all-consuming passion for Bajrasen. According to the translator, the rationale for bringing together these two remarkable plays under a single cover is because in all his explorations into the manifestations and vicissitudes of human love, the poet has been able to emphasise its inherently paradoxical nature.
Balmiki Pratibha (The Genius of Balmiki) and Kalmrigaya (The Fatal Hunt), two early plays by the youthful, newly West-returned Tagore were written as experiments in fusing music with theatre as in the Western operating tradition and the Indian usage of kathakata[3]. They initiated the trail of musical plays which weave themselves into the writer’s creative work though the poet was to admit later, in Jibonsmriti (Reminiscenses), that he was never again to experience as much enthusiasm as he did in writing these two plays. The story in Balmiki Pratibha was culled from the Ramayana, as was Kalmrigaya, though the former play has a more elaborate storyline and involves several ideological constructs, some shared with the latter. Human emotions, like anger or compassion found a more dramatic expression when coupled with music, the poet-dramatist felt. According to the translator, these two musical plays should be considered together for the similarities they reveal in both technical and thematic aspects.
Photo Courtesy: Somdatta Mandal
The sixth and the latest volume in this translation series contains three plays, Mayar Khela, Shapmochan and Chandalika. This trio of plays offer insights into the entire range of Rabindranath Tagore’s creative work at the centre of which rules love, sensual or spiritual, transformational and divine, or of the earth, earthy. The three plays in this anthology, separated from each other by decades, present an epic range of emotions, from desire to sacrifice and compassion, and are a testament to the writer’s analytical and ideological concerns and actually complement each other. Mayar Khela, the earliest of these romantic verse-plays, follows Tagore’s early experiments in fusing music and theatricality. Presenting a multitude of characters, each exhibiting an aspect at variance with the others, they move around in interweaving circles, ranging from calm, sacrificing acceptance to erratic detachment. In Shapmochan, a clear viewpoint is presented in the emphasis laid on a love that transcends physicality to reach beyond appearances. In the final geetinatya[4], Chandalika, the love of an untouchable woman for the Buddhist monk, Ananda, transforms her entire world. Here Rabindranath depicts not just the impulsive force of love but also its ability to transform and transcend mere physicality.
As mentioned earlier, this series of translations brings fresh light on Tagore’s works, and we expectantly wait for many more such productions in the near future.
[1]Mayar Khela – The Game of Illusion: Shapmochan – The Breaking of a Curse: Kalmrigoya –The Fatal Hunt: Tasher Desh—The Kindom of Cards. Shyama and Chitrangada are named after the protagonists.
[2]Bhanusingha Thakurer Padabali – The verses of Bhanusingha Thakur
[3] Art of religious and mythological storytelling rooted in folklore.
[4] Translates to song-play … what we refer to as dance-dramas too.
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Somdatta Mandal, critic and translator, is a retired Professor of English at Visva-Bharati, Santiniketan, India.
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